Both Devin and Curtis manufactured tricolor sheet film cameras. These turn up for sale from
time to time but are quite tedious to refurbish. A few people still use them. The best color inkjet prints I have ever seen were scanned from old tricolor separation negatives, originally intended for either dye transfer or carbro. The reason they now have to be printed this way is that the originals were on acetate film, which is not dimensionally stable, so the negs are no longer exactly the same size, and had to be re-registered in PS. If the film base had been polyester, they could be used as is.
Tricolor cameras could also be hypothetically made on a beam-splitter prism premise, the way big
Technicolor movie cameras operated. For studio still-life work, you can simply make three sequential
exposures through red, green, and blue filters, provided you can maintain perfect register.

Miethe had seemingly designed several beam-splitter simultaneous-exposure cameras.
But still to me the "Miethe-System" is made up by the use of his successive-exposure camera. In many of his photographs one can see the time-parallax. This camera was also built by Bermpohl.

Literature is contradictive about dates (would have to check at original sources), so even cameras might be mixed up. But it is the successive-exposure system that was favoured by Miethe.

And is that system that Prokudin-Gorski took over from Miethe.

Last edited by AgX; 01-07-2013 at 08:12 PM. Click to view previous post history.

But was the original camera specifically in question made in Europe or the US? The combination
of metal and leather on it is reminiscent of a Curtis or maybe Devin. These used semi-silvered mirrors
(pellicles) and allowed a simultaneous exposure of all three sheets of film.